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A brand new age of music arrives as composer Ben Watkins takes us into uncharted territories of sonic awareness. This is the seventh awakening of Juno Reactor, which has transformed its sound through film music. From The Matrix films, Reloaded and Revolutions, to his work in the Japanese films Brave Story and Dimension Bomb, which premieres at The Kennedy Centre in Washington in February, Watkins fascination with Japanese animation makes it way in Gods and Monsters with the excellent cover painted by Koji Morimoto. Its inside Morimotos characters that Junos music currently lives, the mystery of the unknown. WARNING: DO NOT DRIVE WITH THIS MUSC ON! When the road disappears its dangerous.

First released by Electric Melt on the 10th September 2000 Shango features a number of MELT artists like Mabi Thobejane, Deepak Ram, Boris Salchack, Busi Mhlongo and members of Amampondo, Mandla Lande, Simpiwe Matole and Michael Ludonga.

Further information as well as 30 Second samples of the tracks below will be listed soon, so check back again to listen to this incredible new album.

INTRODUCTION

In 1998 Robert Trunz had the notion that an album by a group from Cape Town called TransSky(Brendan Jury & Warrick Sony) produced by Greg Hunter would be a good thing. He set about
making it happen first getting Greg to Cape Town and booking a couple of weeks time with what was then Shifty Studios. Getting to know and work with Greg through this period was a great education and a privilege for me. I learned a lot about the world of synthesized ORB style sound and frozen ants.
This was the first of three work periods with Greg which spanned three years. It was, however, the period where we all did the preliminary recordings which would form the texture of the whole album. Everything was recorded and assembled onto 24-track ADAT system using an old Protools system to edit and loop. All sounds were originated by our performances and those of the special sessions which we hosted at the studio. Brendan had left Cape Town and the project by the time of Greg's second and third visits which saw the pieces morphing into huge sound epics with sampled and performed merging together processed and squeezed into the
ether. Strings and things were developed and added at Milestone. Speakers were blown. Greg left with a box of mixes and we resolved to do a track each separately and release it all as a band called PLINC the album Turntabla. Greg was never entirely happy with many of the tracks and the distance and interest made the project difficult to complete for him, other things cropped up and life overtook us all. Robert approached me towards the end of 2007 and asked if I would revisit it as a Kalahari Surfer and finish it off, which I did. Many of the original pieces had chunks of samples that we could never hope to clear without great expense so I had to strip things out rework, replay and remix. These were sent to Greg who sprang some new mixes into the timeline and gave constructive spiritual guidance. This then is the final putting to bed Turntabla with the last track being a homage to the great intelligence which guides us all.Om purnam ada punam idam
Thanks to Robert Trunz for a decade of patience.

The historic White Column Hall was the final resting place before
burial of Lenin, Stalin and heroes of the old Soviet regime and made a
magnificent venue for some unforgettable jazz in October 1992 during
the four day period of the Moscow 'Jazznost' Festival.The legendary Jazz producer George Avakian was back in the land of his
fathers, coming out of retirement especially for the occasion, and
carefully recording every note for posterity. "It was a privilege to be
there." he said afterwards. Which is why he and Festival organisers
Vartan Tonoian and Eric Avaguimov flew over to London especially to
apply the finishing touches to these recordings in May, 1993.